Variety (October 1958)

61 Wednesday, Oetober 1, 1953 p mm NI61T CLUB REVIEWS ChM Pir ee. Chi Chicago, Sept 15. Nat Cola (4), Henny Youngman, Chez Adorable* (6>, Geotgs Cook Orch (12); $4 minimum,^ fUS' cover at dinner show only. Whatever the ledger shows when the current layout departs, the Chez bohif aces won’t have to dodge any brickbats. This one is clicko showcasing. If Nat Cole isn’t quite the draw of previous playdates at the Chi flagship, chalk it up to the general diminuendo of the big cafes, for the stylistic warbler is as smooth, generous and showmafl- ly as ever. Because of all the values he brings to a lyric, the Cole chemis¬ try is a unique and very moving nitery experience. Grade him A- plus on charm and poise, but in¬ evitably the act predicates on a tasteful catalog sagely stacked, and almost invariably singer and song enhance each other. Star is /a down-to-business labor-of-love per¬ former, doing only what comes naturally for 20 or so tunes in¬ cluding lotsa closely identified items such as “Mona Lisa,” “Too Young,” “I Am in Love” for dandy reaction all the way. Singer’s sav¬ vy trio supplements George Cook’s house band, which backs adequate¬ ly in spots. Henny Youngman’s don’t-dis- turb-a-good-thing philosophy is still paying off for plenty .of rises out front. Comic’s rapid one-liner delivery bubbles with vintage gags, but the Youngman flair as he leap¬ frogs ’em with throwaway lyrics and whimsical fiddling effectively over¬ comes any auditor resistance. Chez Adorable* (6) are slotted twice for good orb appeal. McGuire Sisters and Dave Barry move in Oct. 12. P*t- Hotel Roosevelt, N. O. New Orleans, Sept. 26. Jack Durant, Shepherd Sister* (3), Bobby BUmque, Leon Xelner Orch (12); $2.50 minimum. Jack Durant turns in the same click brand of comedy no matter what his plica on the bill. This time*he heads the show in this swank nocturnal rendezvous. This is the best place for him since even the best of them find it dif¬ ficult to follow him. From the moment he flipflops to land with a thud on his back, his stuff is just as sudden and reverberating. Durant has played this spot be¬ fore and knows how to slant his routine for its clientele. He sets up a continuous obligato of belly laughs. Durant is one of the wiser Comics in that he freshens his ma¬ terial for each outing here and it pays off in solid returns. Comic sings a little, sometimes mimicking other personalities, sat¬ irizes such people as Clark Gable. Primarily, he is a storyteller with a glib line of jokes that get a* good laugh-per-minute rating. He stayed on for over half an hour opening night and tableholders stayed with him all the way. Teeing off acts are"the Shepherd Sisters, three young blonde lookers who turn in a solid harmony per¬ formance. Gals blend voices nicely on ballads set to rock ’n’ roll beats and' other tunes including “Dream,”. “By The Light Of The Silvery Moon,” “Alone,” “Heart And Soul” and “Lullaby Of Broad¬ way.” Bobby Blanque, band vocalist? is also featured in the show. He’s got a capable delivery/ voice registers nicely and projection is good. Nets nice hand. Leon. Kelner and- his crew play it rhythmic and sweet and keep floor * crowded during the dance sessions. Their contribution to show, “Jazz Me Blues,” won them share of evening’s palm pounding. Liuz. Black Orchid, Chi Chicago, Sept. 26. Jonathan Winters, Randy Sparks, Joe Pamello Trio; $1.50 cover. Jonathan Winters’ debut here last February seems to have been a pulse-feeler. He’s improvising kliis stand and has given his stuff more bite, with one result that comic’s onstage longer, his teeoff (26) paced to 40 minutes.- Turn could be tightened (and probably- will), though looseness at outing caught didn’t noticeably flaw audi- *ence rapport. House was with him all the way for solid reaction. Uniform yocking went for his staples^—the pointer dog, the ama¬ teur show and old prison pic take¬ offs, and the wagon train- party. Laughs obtain as much for Win¬ ters’ vocal effects and puss mobility as for the penetrating verbiage, and it’s the sound-duplicating feats, In fact, that effectively rescue him i when he rambles himself into a'| corner. Impromptu stuff includes item-cUffibg from a n la tha mod* for Intimtrr satirists. It’s something copalc toulddaYtlop for hefty payoff. : Randy . Sparks Ik a young folk- singer with okay piping and quitar- ing, hut in need of some hallmark¬ ing to set him apart from the field. His" boyishness is an asset, and tablets generally glommed a cata¬ log that included the Belafonte- identified “Man Piaba.” Singer is advised not to stray, however. His one quasi-commercial item sent the customers back to their chops. Joe Pamello trio serves up fine entr'acte sets. Phil Foster starts Oct. 10. Pit. Birdland, N. Y. Stan Kenton Orch (18), Harry Edison Quintet; $2.50 minimum . Stan Kenton blew into Birdland week before last for a two-week stay that’s sure to keep the room jammed. Although his big band (10 brass, five reed, bass, drums and maestro’s piano) are bunched up on the postage-stamp podium, there’s still enough room for it to whip up a musical storm that turns the kiddies who dig Kenton into a happy lot. Kenton, one of the foremost of progressive jazz purveyors in the big band idiom seeips to have moved “in” since his last gig here. It’s not that Kenton has stopped experimenting, it’s just that he seems to be working out a musical pattern -with a broader appeal. Opening night set • Was marred somewhat by the fact that the band was going over on two simultane¬ ous remotes (NBC and Mutual). The intros went ,to the dialers and not the tablers and some of the mikes were geared for the airwaves instead of the room. Despite this “real drag,” as Kenton put it, the crew came across with an exciting musical drive. Kenton played a. large part in the proceedings by taking over the keyboard for some solid licks. His work at the upright was a smoothly polished affair that keyed the rest of the troupe. For the most part it’s a youthful crew sparked by a solid brass team. Things quiet down a bit when the band takes a break to make room for the Harry Edison Quinte't. It’s a swinging combo that fits easily into the Birdland groove^ Gros. Bradford Roof, Boston Boston, Sept.'24. Rudy Vallee, Sammy . Eisen Orch (6); $2.50 minimum. In a nostalgic turn, updated with fresh bits and slick patter, Rudy Vallee opens the refurbished Brad¬ ford Roof right across the street from the Metropolitan Theatre Where many years back he was al¬ most hit with a grapefruit while rendering “Give Me Something To Remember You By.” He nods back at nostalgia in the number to big opening night aud of partyites. Format of room has changed here with one name to be* featured as entire show and Valle figures to be the blockbuster booking in a prodigal’s .return to the Yankee- land room_ he has played consis¬ tently over the years. He gives convincing demonstration by filling the Bradford’s big roof garden to near capacity. Opening night his more than 75-minute repertoire won big salvos from femme-loaded aud and he came through with ap¬ peal in delivery of well-composed act that combos jokes, songs and current events in the right propor¬ tion, with accent on comedy. Vallee, working to a noisy aud in opener, quickly asserts stage authority ana repartee shots with ringsiders adds zest. Opening with “Lydia,” he segues to “As Time Goes By” straight and With inter¬ polations and does a dramatic “Casey at the Bat” to music. He works in sharp. one-liners. His satire is on the ribald side, but in perfect tune for the aud whether it be about aging processes or femme perversities or his croon¬ ing days. Switching, he does new “Talk to Me,” which he co-auth¬ ored, with the ever familiar Vallee pipes perking in good style/ He makes a production number out of “There’s Nothing Like a Dame,” wearing sailor hat, and Sammy, Eisen’s Orch dons the gob tops. High spot of Vallee’s songalog is rendering of “Life Is Just a Bowl of Cherries” as himself, then as Ray Bolger, Eugene Howard and Willie Howard. Femmes of the over-30 group break into spon¬ taneous applause when he gives with “Miss You” -and “A little Kiss Each Morning.” Sammy Eisen and his orch cut the .show and smooth dance sets. A1 Taxier is boniface at the re¬ furbished room* which is all in pristine white, and with the drapes Off the windows affords a neon sky view of Boston environs. This show holds through Oct. 7. Betty fm Caalift litfalt Buffalo, Sept. 26. I 91 Curtain Going Up? mth The Vagabonds, Mel Leonard, Lenny Page, Moa Balsom Orch (9); $1.50 minimum, 50c cover. ! Harry Altman is opening the local night club season by parlay¬ ing more than a decade of nitery operational savvy and a new house production gambit against uncer¬ tain biz condition^ especially in the afterdark show- spots. After shuttering the Casino last April with heated charge* regarding oveipriced feature acts and public indifference, he has bought out his former partner Harry Wallens and is going it alone this season with a valiant try at awakening the area public to the value and desirability of live stage entertainment. New policy of the house is based on proclaimed slogan of giving the public the utmost for its dollar. In addition to regular service in the main auditorium, a new “Ari-. zona Chuck Wagon” food bar has been installed at the front of the building, cased in glass, visible from the street and staffed by white-uniformed chefs. Here a full self-service dinner is available with chicken, prime ribs and all the fixings and an “eat as much as you want” slogan for $2.35. Immediately adjoining is a new “satellite” dining room where the Chuck Wagon dinner may be con¬ sumed without service charges and without any cover or minimum. This is apart from the show area and Intended for-diners only. If preferred, the Chuck Wagon fare may be taken into the main audi¬ torium where service is available, together with a minimum and en¬ tertainment charge. This is an in¬ novation hereabouts for this type of nitery and brings the tab down to any desired eating and/or entertainment level. Opening show puts strong em¬ phasis on house production idea. Altman has brought in a company Of 35 under the producing and staging hand of David Bines, who handled special Palace (N.Y.) pro¬ ductions several seasons ago and more recently has .been in charge of entertainment at Schroon Lake Manor. This show -features five production scenes marked by some outstanding precision work by the entire ensemble who obviously are conditioned to working as a unit Costumes and voices are above average and the choreography moves off in fast and striking pat¬ terns. Myron Roman (also ex- Palace) has been imported as guest conductor and does a sharp job in synchronizing the house orch with the show. For the opening, the Vagabbnds are underscored and hit a new laugh high in next-to-closing. Their zany instrumentation and clowning Kean &.Lew Parker open r Oet 8 Wtffof twtTVeeks. y ’ arc in the best Vein of this sort of offering and as usual they-work it up-to rousing returns. Comedy Is strictly horseplay and pratfall, but the traditionalkick in the pants never got heavier returns than with these dedicated careerists to the harum-scarum, wacky metier. Mel Leonard, making a first nitery appearance following a suc¬ cessful stint as banquet enter¬ tainer, has some quiet, new gags and stories which are surprisingly effective in this milieu, Ed Dumont and Mary Gavin are standout in the vocal department, the Gavin girl being a cute replicatfdf the Widow Toda with voice, as she demon¬ strates in her well projected bit of “Show Me” from “Fair Lady.” Lenny Page, perennial emcee of the Casino, this year has taken over the executive managership and is acting as general major- domo of the enterprise. Altman plans to follow this one with an en¬ tirely new production to be called “Let’s Follow the Girls,” featuring Domenico ..(“Volare”) Modugno. Show biz entrepreneurs will be watching closely-to see if and how the. Casino’s new policy pays off at this crossroads for the nitery aficionados north and south of the border. Burt. 365 Club, Sam Fruelseo San Francisco, Sept. 25. Mel Torme, Lili St. Cyr, Moro- Landis Dancers- (10) with Bill Carey, Bill Weir Orch (8); $1-$1.50 cover. Mel Torme, though somewhat handicapped by band's draggy tempo, is a big click paired with Lili St. Cyr in swift-paced 50-min¬ ute show. Torme comes on strongly with “Nel Blu Dipinto di BIu,” following his intro, knocks out a fine “Wrong Time, Wrong Place” (to bass ac¬ companiment), a little “Shadrach,” kids “Autumn Leaves” for a couple of minutes and then sings it straight and beautifully. He tops himself with “Guys and Dolls,” sits down to a stage piano and plays and sings “Back in Your Own Backyard” and “Bye Bye Black¬ bird” and winds up 25-minute stint by doing a drum solo on “Lover.” Torme has an excellent voice. Wonderful diction—no mushmouth, he — and lots of empathy with crowd, which, liked him immensely. Miss St. Cyr, held over until Wednesday (1), does her own spe¬ cial “Night in Tangjers,” a terrific business-builder even though it gets little applause. Moro-LandiS Dancers hoof nicely in opening medley of New York songs and close show with a- stand¬ ard collegiate football number. Bill Carey’s a pleasant singing emcee. Bill Weir orch isn’t up to snuff. Stef. CORINNE CALVET Songs 25 Mins. Le Cupidon, N. Y. 'Corinne Calvet, the Gallic ac¬ tress imported by Paramount, is now essaying a tour of the nitery circuits. Her path has been made &'bit. easier not only by the near perpetual vogue for French chan- teuses who happen to be pretty and look sexy, but by the current trend to singing thesps who need no great singing voice to get bf: For example.“My Fair Lady” and “Gigi” are loaded with singers who do not sing. Marlene Dietrich has been getting by with an amelodic set of pipes for years. There are others too. While Miss Cjdvet’s voice is not keenly developed, her personality is. She’s bright and cheerful and has a vivid personality which makes her exclusions around the ringside a pleasurable event for the table occupants. Another plus is her going along with familiar French tunes which seem to supply the melody by themselves. These familiars in¬ clude “La Seine,” “Under Paris Skies,” “Autumn Leaves” and a few that aren’t familiar but listen- able. Her excursions into special material (en Anglais) do not come off as well. Sartorially, MUe. Calvet clicks handsomely. She makes her en¬ trance in- a slinky sequined tight- fitted trouser outfit, and thence goes into a kiosk-like construction, indigenous to the Paris scene, where she transforms into a taste¬ ful gown. Miss Calvet Is still on the once- around count. By the time she makes the full circle of cafes, she should iron out the kinks in her turn which should make the sub- ,, sequent bookings easier. -** a®*.; tively in this room presided-over by Robert who supervises all the details from back to front with style and class. Jose. STEREOS (4) Songs * 27 Mins. 1 Gatineau, Ottawa Recent entry into the chant-four¬ some slot, the Stereos have a slick¬ ness that points to clicko training and plenty work on sound routines. Group wisely limits stint to three or four items with fine arrange¬ ments, such as “76 Trombones,” “You Are My Destiny,” “Saints Go Marching In” and a spiritual “Joshua.” Showing need of fixing are the gab bits, and the general staging where there is too much car boning of billtopping chant groups, particularly in visual slot Development of showmanship savvy should proceed with speed since the boys exhibit a tendency, possibly without realising it, to condescension in working to the tables. Trimming and tightening would make this a socko item for all sight and sound media. Gorm. RAFAEL RUIZ & DANCERS (6) Dances ' 24 Mins. Gatineau, Ottawa ' Rafael Ruiz is a young (19) man with Click terp ability showing definite evidence of training and routining in ballet and Latin slots. Boy’s solos are spiked heavily with both terp types, ballet and heel¬ hammering sharing use fairly equally. But while Ruiz is -an able dancer, the five femmes he sur¬ rounds himself with are lacking in ability, routining and coordination and costuming is only adequate. Should Ruiz replace them with even two or three capable of enough Latin steps to • back his items, f&e stint could ride higher. Now, it’s flabby. Gorm. QieeM Elizabeth, Mamt’l Montreal, Sept. 24. Jaya P. Morgan with Morgan Bros. (4), Don Warner Orch (11), Louis Pannet Trio; $2.50-$3 cover. Jtye P- Morgan, is the first blonde belter to play the elegant Salle Bonaventure of the Hilton- operated Queen Elizabeth Hotel and she is a refreshing and aggres¬ sive change. Supported by her four brothers who play, sing and dince with her. Miss Morgan offers one of the most varied programs seen around this part of the circuit for quite a while. Diversity is backed with okay talent* and a desire to please, but the very nature of the potpourri, although bound to satisfy all tastes, takes some of the edge off overall effec¬ tiveness. On night caught, group seemed to be trying everything "in their book, moving from a click arrange¬ ment of **My Baby Just Cares For Me” in almost ballad rhythm to a rousing costume-change item, “Yes, Indeed.” Except for a breather when the freres take over to do a group of spirituals and give . Miss Morgan a chance to switch gowns, femme is very much in . evidence at all times. They re¬ frain from unnecessary gabbing during stint and only bring in a brief mention of their platter hits when they intro “Stardust,” their new Victor waxing. Act has solid potential for all visual mediums; they have youth and enthusiasm on their side hut more care in coordinating their act to fit the medium or room they are working in would boost appeal. The new orch under Don Warner makes for pleasant listening and hoofing but seems rather lethargic after the Denny Vaughan band. Vaughan is slated for a return to the Salle Bonaventure in Novem¬ ber. Miss Morgan &> Co. arc in until Oct. 4 with Nelson Eddy to follow Oct. 6 and French chirper Jacqueline Francois set for Oct. 27. Newt. Jefferson, St. Louis St. Louis, Sept. 23. Gene Austin, Johnny O’Brien, Johnny Polzin Orch (7); $1.50-$2 The Sheraton-Jefferson’s Boule¬ vard Room, minus floorshows for several years, made a happy choice of talent for its reentry into the entertainment department — vet¬ eran crooner Gene Austin. Austin’s pipes have hardly changed at all since he first wowed ’em back in “the good old days,” and he makea a nice, easygoing session of it up there on stage. Along with “My Blue Heaven” and some perennials penned by Austin himself, he takes a rapid- fire tour down yesteryear’s melody lane and coaxes the audience to sing along with him on the more familiar ditties. Austin is engaging in the story-telling department, too, and he makes good use of the informal patter between songs. Harmonicomic Johnny O'Brien, who opens the show, builds up the yocks all the way with a folksy, drawling roundup of anecdotes that get to the customers’ funny- bones and stay there. He's a whiz on that harmonica, too, arid wraps up things with a batch of musical fireworks. Johnny Polzin’s local crew, a smooth, -danceable outfit that cuts a good show, will be on the hand¬ stand probably throughout the season. Next floor show attraction: Denise Lor and Jack Durant, open¬ ing Oct. 3. Godd. Interlude, Hollywood Hollywood, Sept. 23. Earl Grant, Leo DeLyon, Morty Jacobs Trio; $1 cover, 2-drink min¬ imum. Leo DeLyon, a name that’s bound to draw snickers on the Strip, has taken over second spot to Earl Grant at the interlude and is mov¬ ing downstairs*!or. a show-a-night with Frances Faye at the Cres¬ cendo, besides. That he can whis¬ tle “Swanee River” and hum “Hu¬ moresque” at one and the same time is no mean talent, and, every¬ thing he does, it’s this bit of va¬ riety that scores biggest. As a comedian, DeLyon makes effective use of a voice'that com¬ ically ranges from falsetto to bass. His material is sometimes good, sometimes so-so, but his opening show was no fair test because the meager crowd—typical of a slow Tuesday night—would have done in. the best of comedic talents. In his 25-minute Interlude turn, DeLyon tinkles a pleasant-sonnding piano in backing himself and receives in¬ termittent help from the fine Morty Jacobs Trio, with trio also doing well on its own. DeLyon is hooked for three-and- a-half weeks, with Grant and his smooth style remaining until Janu¬ ary. ’ *'* = Ron.